Metal Score Project

The rendition of CFRS is fantastic, but isnt it missing a guitar layer or something? What about the bass? Its quite inaudible in the original song though, so probably is unnecessary, or perhaps not possible to include?

When I got the Mutiilation CD in the 90's I wouldn't have believed this song will (and should) end up as a classical piece! I mean, it was the ultimate dirty musical experience of darkness from the pits of Hell. But of course this is not contradictory, the power in this music was always obvious. We'd need a real organist to play it, preferably this one.

I spend a good amount of time crafting tabs/midis of classic metal, as well as my own material. It's a very limited medium as far as sound (timbre) goes, but can be beneficial for transcription and studying the music's structure. That said, the concept of remixing old black metal songs to sound like trance music is quite humorous. Well, here are some of my completed works and a few unfinished ones:

...the concept of remixing old black metal songs to sound like trance music is quite humorous.

It is, but the idea (from what I can tell) is to provide tools by which Hessians can show non-Hessians exactly where the beauty lies in metal music - by removing their enslavement to the preconceptions they've formed around the "sound" of metal music. Thanks for that list.

I suppose, some guys I know say they'd enjoy metal a lot more if they didn't have to hear the vocals. I remember being in that phase, some people just never get over it I guess. Unfortunately, translating metal into electronic music has rarely, if ever, worked. We've all heard "Opus A Satana" and "Gate of Inanna", I assume. But who knows, maybe that silly Fenriz guy will release a House remix of TH since he clearly doesn't give a shit about his fans.

I suppose, some guys I know say they'd enjoy metal a lot more if they didn't have to hear the vocals. I remember being in that phase, some people just never get over it I guess. Unfortunately, translating metal into electronic music has rarely, if ever, worked. We've all heard "Opus A Satana" and "Gate of Inanna", I assume. But who knows, maybe that silly Fenriz guy will release a House remix of TH since he clearly doesn't give a shit about his fans.

It is, but the idea (from what I can tell) is to provide tools by which Hessians can show non-Hessians exactly where the beauty lies in metal music - by removing their enslavement to the preconceptions they've formed around the "sound" of metal music.

I made this for that reason. Some melodic death/black metal songs have such great melodies that it actually sounds better on traditional instruments, although you lose the aggression of the tremolo picking, drums and screaming.

It's the 3rd riff that I really wanted to hear, and then just ended up doing the whole thing. What next, "Non-Divine", "Within", "Windows", something from Gorgoroth or Emperor? It needs to have a decent sense of melody or harmony for me to take the time. I do it as a learning exercise.

I don't know of a better way to learn about the technical aspects of a piece of music. In this one, I found that the riffs from the beginning and end of the song frequently reuse an Aminor - Asus2 - Aminor - Asus4 "progression." (<- also used in the beginning of Gorgoroth's "Gorgoroth") This lends further credence to the idea that metal is "key less modal music" as described in another thread.

However, I can't stand the overabundance of consecutive fifths in orchestral music, very burdensome in my opinion. While they fit very well in some smaller and simpler groups (like metal bands or musica antiqua ensembles) I don't like them in the XVI-XIX centuries instrumentation and voice distribution.

I can't get used to hollow sonority from a minor or major chord to a sudden perfect fifth chord in these timbres.

However, I can't stand the overabundance of consecutive fifths in orchestral music, very burdensome in my opinion. While they fit very well in some smaller and simpler groups (like metal bands or musica antiqua ensembles) I don't like them in the XVI-XIX centuries instrumentation and voice distribution.

The lack of distortion causes the fifths to sound kind of hollow, yes. In places, I would try to fill-in the harmony, where there was a fifth, add a third that was the scale note, or just a minor third. Or similar method to have the cellos play a sixth higher than the basses, instead of a fifth, for added tension, but I wasn't that creative most of the time (they are both long songs).